Movie and Television Reviews

Every so often a movie comes along and provides the public with a new way to visualize physical violence. Recent examples include Saving Private Ryan, Hidden Dragon, Matrix, and Lord of the Rings. Such is the case with 300. Along with massive formations of combatants crashing into each other followed by cleaving and slashing sword play introduced by LOTR and imitated by Troy, Narnia, Eragon, and others, 300 often slows down the action to highlight the ballet-like skill of the Spartan warrior.

In addition to the battle scenes, 300 is riddled with other small but powerful visual details like beads of sweat dripping down a body, seagulls hovering in the distance, and a pre-combat gathering of soldiers in what looked to be Rotoscope. Admirers of the male form will find even more compelling things at which to look, I imagine.

One intriguing aspect of 300 is the film-makers’ imagining of men and creatures. Perhaps the film makers wanted to create a world of fantastic beasts as in LOTR or Star Wars, but felt constrained by the fact that they were, after all, recounting a historical event. Instead of creating creatures, therefore, they merely exaggerated the features of real animals and people. The beginning of the movie, for example, features an unnaturally large wolf with glowing eyes. The Persian king, Xerxes, is ludicrously large, yet his size has no point other than to highlight his power relative to the Spartans or, perhaps, to represent his own self-perception. Other examples include a grotesquely misshapen and discarded Spartan traitor, disgustingly diseased priests, and various Persian warriors of strange appearance or unrealistic size.

Like the efficient combat moves of the Spartan soldier, 300 moves briskly and with a purpose. After the Sparta for Dummies introduction to ancient Spartan society by the narrator (really, one of the best uses of voice narration in film- I enjoyed every time he spoke especially the amazing scene where, after a moment of suspense and confusion, he provides the real reason the King removes his helmet and discards his shield), the film quickly establishes why the King must defend a strategic pass from the Persians with only 300 soldiers. The rest of the movie mostly describes how the Spartans fare in the several battles leading up to the excellent conclusion. The dialogue consists almost entirely of manly boasts which bothered me a little until I read later that the screenwriters took many of those boasts strait from historical accounts. Amongst the other historical facts to which I admit having been ignorant are that unlike modern day Greeks, ancient Spartans were completely hairless from the neck down and had, apparently, perfected the Ab Lounge.

The political-intrigue subplot seems to be unhistorical, however, and it’s largely superfluous. Undoubtedly, it was inserted to provide contrast to the frantic, all-male battle-scenes; the Queen’s speech in front of the Spartan council is good if unspectacular.

All of the performances are fine although since 300 only leaves room for one tone per character, actors aren't exactly required to express a broad range of emotions. The tones are defiant shouting, deep-voiced intimidation, and suave deception. I think I heard a joke in 300 and ladies are treated to noble, pensive husbandry and Spartan sex (3 minutes to each). Gerard Butler as King Leonidas is cast perfectly, as his rough looks keeps with the manliness theme. Other movies set in ancient times, Troy and Alexander, feature metrosexuals Brad Pitt and Colin Farrell.

Message/Politics

300 is one of the few modern movies that not only glorifies soldiers and their bravery, but war itself. The film-makers suggest that war is useful as a character-building tool, that dying in battle is the most fitting end for true men, and that people unwilling to fight are cowards. While some noise is made about fighting for freedom, one gets the sense that Spartan Mens' main motivation is simply to not get beat or, at least, to not lose honor (a nearly forgotten concept in the Western world and, therefore a shocking idea to many moderns). Not once does the king consider peaceful alternatives or regret steering events towards war. When a father loses his son in battle, the incident steels his resolve instead of forcing him to question the whether such a sacrifice was justified. Essentially, 300 thinks of war the same way Spike TV thinks of Ultimate Fighting Championships.

Another theme is an odd one and of special interest to soldiers. The movie contrasts the skill of the professional soldier to the citizen-soldier. For years, the battle of Thermopylae has been used by the military scientist to demonstrate the superiority of training and terrain over sheer numbers and the movie makes the same case.

Other non-PC moments include calling Athenians “boy-lovers” like there’s something wrong with it; differentiating between “real men” and "non-real" men (politicians); and, unlike movies like King Arthur, admitting that pagans did some bad things like abandon unfit babies.

All in all, a great movie.

Direcor Zack Snyder

Writing credits
(WGA)
Zack Snyder (screenplay) &
Kurt Johnstad (screenplay) and
Michael Gordon (screenplay) (as Michael B. Gordon)

Frank Miller (graphic novel) and
Lynn Varley (graphic novel)

Cast (in credits order)

Gerard Butler ... King Leonidas

Lena Headey ... Queen Gorgo

Dominic West ... Theron

David Wenham ... Dilios

Vincent Regan ... Captain